Legos
Armazén 286| Porto | 2012

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On the table there are forty pieces, forty pieces of the same body. We are invited to group them in sets of four and achieve ten continuous representations of the same character ... or maybe not.
Jorge Ramos aims at inhabiting the painting, and painting is to stop and think and transform that little frame of time into a new cross-sectional variation in real time. Time is coming.
Jorge Ramos also aims at talking about painting and the act of painting and of how the gesture is performed and is able to create an image opened to interpretation, to the game and to the reconstruction of new narratives. The figurative, the abstract, the portrait and the melancholy of the human being deconstructed in its own reflection appear in each fragment of the canvas.
In front of the canvas, time is also reflected. There are dead times, in the lives of everyone, when we stop and think, maybe reflected in the chiaroscuro of a showcase, if the image that appears in front of us is, in reality, what we wish others to see.
That glimpse of a thought that arises and that is nothing but a trap of time, comes associated with a scattered image that blends with millions of parallel information, which causes that moment to be somewhat difficult to read and therefore easy to forget. However, that thought still remains in some dark part of our inner self and emerges in certain moments of self-awareness, almost as intending to remind us that we are whatever we might have transformed ourselves into. And what we have transformed ourselves into is nothing but the reflection of “the self” further transformed by the combination of uneven parts from pieces of others.
The Lacanian dialect of the mirror is the suggestion that Jorge Ramos makes us and it is up to us to decide whether to compose it or not, and make of all of this an exercise of self – portraying: if we want the different parts of the body to group in a somehow loose way, with the intention of hiding the back part of them and giving the suggestion of it being a whole piece. This whole piece, having been influenced by classical fables, representing moral tales - as entangled as tragic and containing allegorical characters – are, at the bottom, all of us and the others.
The others.
That "body without organs" is undoubtedly our worst enemy but nevertheless it inspires in us a certain tenderness and we look at it as if we would be looking at a brother. It is a reflection that simultaneously produces fear and tenderness. Being deceitful it, however, reveals our true human essence, stabbing us in the conscience each time we see our image reflected in the chiaroscuro of the crystal.
And yet this same means shows us that this is not completely possible, since the flaws are often more visible than its own virtues.

Text | Juanluis Toboso | Porto | Março 2012